
Kochi-Muziris Biennale: India’s Leading Art Platform That Brings Artists, Curators, Critics and the Public Together
The HinduArt has travelled a lot from the times of Vincent van Gogh and Paul Cezanne and even from those of the Bauhaus and Fluxus, which questioned the age-old distinction between craft and fine art and brought them together in the idea of design. What happens in the new art—museum installations; spatialised music; contemporary dance, or “movement art”—is a de-specification of instruments, materials and apparatuses specific to different arts. The present Congress-led government, which looked at the event as a scheme While looking at the works on display at this discursive event, I was struck equally by their multiple genealogies, their modes of encountering life, their ways of imagining history, the politics of resistance that constitutes many of them, and the way they break the conventional boundaries between life and art as also between the various genres of art like poetry, photography, painting, sculpture and film in order to create an art of our time that cannot be contained in our old calendars and categories. It brings major contemporary artists from around the world to Kerala, most of whom worked with locally available materials—from automobile parts to spices from the market—and worked intelligently on the natural spaces, godowns, galleries, wharfs, courtyards and compound walls offered to them and created artworks that are organically linked to local history or contemporary contexts of life and art. Amidst all the melancholic discussions on the end of art, the works at the biennale expose the reverse side of art “to the extent that the aesthetic formula ties art to non-art from the start, it sets that life up between two vanishing points: art becoming mere life or art becoming mere art”.
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